Saturday, 11/21 (pre-Thanksgiving travels), found me at Lincoln Center Library for the Performing Arts, one of my favorite ‘go-to’ venues, for the inaugural concert of Millennium Chamber Symphony’s “Americana Sounds” with Piano & Orchestra. Just three works on the program, but they all had some good things going for them. MCS is a group devoted to developing the talents of aspiring young artists while also exposing them to working with established and international artists, a lofty goal that was pretty well met on the Saturday in question.
Adagio for Strings, Opus 11 (1939) – Samuel Barber (1910–1981);
Daniela Candillari, conductor
Theme and Variations on “Red River Valley” for Flute and Strings (1996) –
David Amram (b. 1930); David Amram, conductor; Marco Granados, flute
Rhapsody in Blue for Piano and Orchestra (1924), Score by Ferde Grofé (Theater Orchestra Version) – George Gershwin (1898–1937); Daniela Candillari, conductor; Alexander Wu, piano
The Adagio is a very transparent work and, while beautiful, suffered a little bit at the hands of the young string players. The playing was just a bit tentative, though that could have been nerves, seeing that this was indeed the inaugural concert.
Mr. Amram conducted his piece, and while hearing the distinction between individual variations was slightly lost, the piece (and his conducting) had a lot of energy, and the players responded accordingly. Mr. Granados also acquitted himself quite well. I liked the piece, and it’s a real joy to hear pieces by living composers, in this case with the composer at the helm of the orchestra. Mr. Amram also spoke from the stage, and it was obvious that he had a real affection for these young artists. I hope I’m as active as he is when I’m 85!
One of the main draws for me is hearing pieces like the Gershwin live, with no sound mixing, the way you would hear them on recordings or even via (I think, though I might be making this part up) live broadcasts, i.e., a radio or TV broadcast of an open air concert. Here, Mr. Wu was at the back of the stage, with the strings and woodwinds stage right and the brass stage left. For the most part, balances were pretty good, though once the brass players got going, their exuberance sometimes overpowered. I think the young musicians learned a bit during the afternoon, and maybe the established musicians did, and definitely the audience did. Win, win, win!
Wednesday, 12/3, found me outdoors after work in northernmost Central Park for a tree lighting. For those of you who know me ‘in person,’ you know that I’m not much of a sweets person. But when in Rome, er, Central Park for a holiday event, go for a small cup of hot chocolate and a sugar cookie—so I did. Santa Claus was on hand, with Mrs. Claus, and the kids seemed to be having a good time. An a cappella quartet, the Mistletones, provided a mix of traditional, doo-wop, and close harmony holiday songs, and there was the requisite politician on hand, as well. But the real star was the BIG wall switch—when flipped, trees out on an island in the Harlem Meer were lit up to applause and oohs, and ahhs. God bless us, every one!
Sunday, 12/6, found me at tree lighting number two—Carl Schurz Park, with the requisite politicians (four! one of whom arrived late and was NOT the mayor), plus I Cantori (singers) and Orbital Brass (duh! brass).
Three or four a cappella songs were followed by a countdown to lighting the tree, sans big light switch, and then a carol/holiday sing-a-long. Lots of fun. This was my third or fourth time attending, and as the weather was really great, I decided to forgo hot chocolate and a cookie. Walking home, the wind picked up a bit, but this was much warmer than in years past.
A couple more community caroling events are in my future, I hope. I'll fill you in.
ConcertMeister
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